There is so much care, thought and detail put into the show it’s mesmerizing even on second watch. The era-specific cars, restaurants, technology and social issues is compelling television. This is absolutely Fincher’s doing, whose characters are often investigators, and by extension pays a lot of attention to details in his scenes.
Read MoreWhile Season 1 immersed itself with biker gangs, huge bags of cocaine, alcohol abuse and nihilism, and some edge-of-your-seat sequences, Season 3 prefers the slow burn, with tension, intrigue and drama taking center stage.
Read MoreSadly, despite the potential, what Jones delivers with Mute is a classic example of a passion project that should have stayed on the page. The film is admirably small-scale, when a lot of futuristic science fiction aims to make big statements about humanity. But taking a narrow, Black Mirror approach to the story can’t save it from an emotionally distant main character or a repetitive, fractured plot. At times, you can almost feel Jones waffling over what to include in his story: more of Alexander Skarsgård gazing listlessly at reused sets from Blade Runner 2049, or more of Paul Rudd’s obnoxious mustache.
Read MoreThere’s a final Mexican standoff in the finale of Wind River that has become instantly recognizable as director Taylor Sheridan’s work: tense and unflinchingly brutal. These gunfights are nerve-wracking and serve their purpose, such as in Sicario and Hell or High Water, but in the much slower and contemplative Wind River, it suddenly feels slightly out of place.
Set in Wyoming on the Wind River Indian Reservation, U.S. Fish and Wildlife Service agent Cory Lambert (Jeremy Renner) discovers the frozen corpse of Natalie Hanson (Kelsey Chow), and it’s quickly ruled a homicide by FBI agent Jane Banner (Elizabeth Olsen). With the help of the local Tribal Police Chief, Ben (Graham Greene), the investigation leads them to the dark corners of the reservation, from broken homes to drug houses to remote oil rigs.
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